Contagious Shadow Ruppetry In Modern Art

Over the years, I have flirted with visual art. It started with pencil drawing, continued as an affair with marker illustration, then a dalliance with lettering, and I now have a relationship with photography. However, my favorite art will never be displayed in museums or galleries. It is not static and immutable. Rather, my chosen medium is fluid, living, volatile. No matter how well rehearsed, it will never be the same again. That’s the beauty of performance art.

Degas, The Anti-Impressionist Impressionist I set foot in the Norton Simon Museum in Pasadena on October 25th, 2015. As I step through an entrance marked ‘European Art: 19th Century,” I’m instantly greeted by a plethora of bronze figures with a placard under each of them reading ‘Edgar Degas.” I moved on to peruse the art hanging from the walls when I noticed a correspondence between the bronzes and the paintings — both depicting unaware figures in the midst of ubiquitous activities. I then came to a halt in front of a compelling piece. I dwelled on the two dancers’ swaying bodies progressing further into the painting. The audacious color palette trapped my eyes and the composition guided them around. The focus was drawn to the structured

La Town This is a work about parallel simulation. The world of this work is a parallel universes and people are survieing in parallel lives. Though the installations itself may be composed of no more than dolls and plastic toys, Cao asserts a lot of intersting details and smart references in it, and the video highlighted both the mundanity and vice of contemporary society through the creation of an obviously fake, alternate world modeled on our own. It's interesting for me to see how something so very unreal can be a source of real anxiety as soon as one realizes that there are indeed many truthful parallels in our

Pierre Huyghe is a French artist who grew up in Paris, France. Much of his work surrounds installations, and public events which extends his work into digital and live work. His work that stood out to me the most was his filming of staged scenarios. A lot of this work focuses on one or more subjects, but the setting is quite large. This gives a lot of the work a lonely and sad feeling. His work highlights the idea that we all are very small compared to the world around us. A production still which grabbed my attention was This is Not a Time for Dreaming, from 2004. In this still we see a larger puppet which is being controlled by strings while holding his own set of strings. As you look down you see that the larger puppet is actually controlling

Creating hand shadows on a wall is a pastime that has entertained young and old alike for generations. Now the art of hand shadows is made easy in this volume, a combination of two wonderful Victorian novelty books. By following the clear visual instructions (a full-page illustration of each subject shows both the shadow and the hand position that forms it), shadow shapers will be able to make a bird take flight, a duck quack, Toby the dog wag his tail, and more. With a little patience and practice, anyone can learn to make these and 30 additional figures, including a deer, camel, bunny, bull's head, Shakespeare, grandpa, an elephant, and more. Soon you'll be able to invent your own designs. Parents, teachers, and older brothers and sisters

Absolute Film Is Fine Art Although literature existing on the subject of abstract cinema’s origins is not lacking, seldom does it appear in a purely art historical context. In mentioning visual artists, particularly focusing on Hans Richter and Viking Eggeling’s collaborations, scholarship rarely questions the aesthetic motives or innate desire for

Art in general is undergoing several changes with artists beginning to think about spatial illusions and human form. Despite this, the changes seem subtle and understated. This discussion seeks to highlight the changes that are happening in art and how artists are creating space in the work they do.

"No artist was more obsessed with shadows that Leonardo da Vinci" (Fiorani, 271). Leonardo was fascinated by the earlier painters Pietro Cavallini and Giotto, which relied heavily on shadows and heavily studied their work alongside the writer Cennino Cennini. Finally, when he started painting, he observed how shadows acquired colors because of the objects surrounding it and asked how and why the shadows take on the colors from the other objects. He focused on various painting techniques to incorporate the blended and minute shades into his art. However, he did not just look at his own observations, but he took into account Aristotle’s observations of colors and the atmosphere as well as Alhazen's techniques of utilizing light and optics to

The essay In Praise of Shadows, written by Jun'ichirō Tanizaki explores Japanese cultural values and aesthetics. The main goal Tanizaki had while writing In Praise of Shadows was to inform the reader about the importance of having traditional values in Japanese culture. In his essay, Tanizaki uses shadows to symbolize

Bibliography Australian Curriculum, A. a. (2015). Australian Curriculum. Retrieved May Saturday 2nd, 2015, from The Arts Scope and Sequence: Foundation to Year 10: http://www.australiancurriculum.edu.au/the-arts/introduction Dinham, J. (2014). Delivering authentic ARTS education. Australia: Cenveo Publisher Service. Geršak, V. (2015). Ausdance. Retrieved May Friday 8th, 2015, from Creative movement – An opportunity for affective education:

First Impressions: “In the shadow/ of a spectacle/ is the view of the crowd” is a commissioned performance for Performa 15 by Danish artist Jesper Just and FOS. Artists created an installation on the 43rd floor of 225 Liberty Street using blackout curtains to obscure the 360-degree views of Tribeca’s skyline. Audience members were shepherded into several elevators to go upstairs. The dark atmosphere upon entering the 43rd floor directly leads audiences into a dark and immersive environment. The image of the glass facade of 1 World Trade Center was projected in lift lobby.

In the following essay I will be discussing and explaining the various aspects of my puppet making journey. This includes the style I have chosen to use, as well as what and who influenced me and how I plan on using this puppet. I decided to go for the shadow

The Holter Museum, in Helena, MT, is currently displaying a series of work by John Saurer. Saurer received his BA at Hope College in sculpture and drawing, he continued to earn his MFA at Colorado State University in sculpture, and has been teaching art at St. Olaf College since 1995 (Saurer). His current exhibit is called Across Tender Land and was inspired by Saurer’s surroundings while growing up (Shadow Casting). On piece, in particular, caught my eye. His Shadow Casting sculpture is around 75 pieces of welded steel and charred wood composed into different shapes mounted on a wall. When I first saw this piece, I found it interesting, but as I got closer, sensored lights came on and caused each piece to cast a shadow on the wall behind the sculpture. This piece of art reminded me the incense burner that has been discussed in our book (Stokstad, 4-13). I was reminded of the incense burner that was found in Prince Liu Sheng’s tomb in China. Each piece was created to be viewed with the help of an other medium; smoke and light. Shadow Casting becomes much more aesthetically pleasing when the light casts the shadow, just as the incense burner becomes more aesthetically pleasing when it is viewed with smoke swirling around the mountain peaks.

When it comes to speaking or performing in front of an audience, everyone has their own ways of handling the situation, even if they don’t have a fear of a big audience. Some people imagine their audience naked and some imagine themselves somewhere else. This trick to performing is expressed in both “Lost in Motion” and “Lost in Motion 2” These short films depict two professional dancers performing breath-taking moves, all while in perfect elegance. These two short films have both similarities and differences. The comparison of these films can be best categorized by its setting, its mood, and its music

Seeing it has given me a new view on theatrical structure. The performance was divided into four sections with three intervals were each one of them was a different form contemporary dance performance presented in varying moods. In my opinion the red thread of the performance was the simplicity of the staging props with focus on light-sculpted space along with smoke and music and dance compilation. In this case, the role of technical appliances is just as or even more significant to the staging convention as the performer’s role itself.